The End Of An Era

We closed the chapter on another great part of our music history last week when the Philadelphia International sign came down on the House that Gamble and Huff built in the 1970's. 

Actually, that's not exactly true ... this building's history stretches back nearly two more decades when it was first home to the Cameo / Parkway record label from the late '50's through the mid '60's.   SO much great music was created between these walls that it's almost hard to fathom. 

Early greats like Chubby Checker, Bobby Rydell, Dee Dee Sharp, The Orlons, Charlie Gracie, The Tymes and many others recorded their biggest hits right here in these studios.   

Then, after the company was driven into bankruptcy in 1967, songwriters Kenny Gamble and Leon Huff stepped in and resurrected the label, scoring HUGE hits with songs like  "Cowboys To Girls" by The Intruders, "La La Means I Love You" by The Delphonics and "Expressway To Your Heart" by The Soul Survivors into the late '60's.    

But it was in the 1970's that the newly formed Philadelphia International Records REALLY exploded and took over both the pop and the soul charts. 

Their roster boasted artists like The O'Jays, Teddy Pendergrass and Harold Melvin and the Blue Notes, The Stylistics, Billy Paul, The Spinners and more chose to record many of their biggest hits here.      

In 2010, the building was ravaged by fire and was never rebuilt.  All that remained was the legendary sign out front, reminding people of the musical legacy that was recorded here.   

But last week, even that sign was removed ... soon the building will be demolished (cue Miley Cyrus and "Wrecking Ball") to make way for a new high-rise hotel and some luxury condominiums.  (Wouldn't THAT be something cool to have on display in your basement?!?! ... The Philadelphia International Records sign!!!) 

Frannie and I were fortunate enough to take a private tour of these facilities back in 2009, a year before the fire, thanks to our friends (and Forgotten Hits readers) Rich and Mamie, who made arrangements for us to go through the facilities when the building was normally closed to the public.  It truly was like stepping into a time machine, seeing everything from all the gold records rewarding their success ... to the mega-thick shag carpeting on the walls of the recording studios where these hits were made.  

For all intents and purposes, it had already ceased to exist as a recording facility by then ... instead, it was more of a tourist attraction, offering guided tours and memorabilia for sale ... their day-to-day work consisted mostly of licensing their incredible catalog of music to film and television projects ... but just walking through the halls, the rooms and the studio sent chills up our spines, knowing that all of the great music had been recorded there.  We spent a fair amount of time in their museum / memorial gift shop as well, where many of the gold records presented to the label were prominently displayed on the walls. 

Our original coverage of our private tour dates back to our pre-website days ... but here is our original report on the arson fire from 2010 ...  

http://forgottenhits60s.blogspot.com/2010/02/fire-tears-apart-philadelphia.html

Along with some pictures of our historic visit the year before.    Also included ...   

Some of the media coverage marking "The End Of An Era"    

Frannie and I, entering the building that Kenny Gamble, Leon Huff and Thom Bell

put on the musical map in the 1970's

Mamie and Frannie in the foyer inside the building

Just one incredible hallway

  

Frannie with one of her favorites ... Teddy Pendergrass ...

part of a beautiful mural depicting many of the label's biggest and best-known artists

Me and Rich, looking over the memorabilia for sale ...

And gold records on the wall

The incredible Kenny Gamble ...

Standing next to a cardboard cut out of me ..

(or is it the other way around???)

An actual recording console ...

On display in the gift shop with more gold records, tape decks and editing equipment

Frannie and I ... in the studio, sharing a mic

(I'd say cutting a rug ... but actually the rugs were all around us ...

All of the walls and floor were covered with deep, shag carpeting 

to help muffle and contain the sound ...

hard to imagine that this was "state of the art" recording back in the day!

This is a chair inside the recording studio where Billy Paul 

cut his #1 Hit "Me And Mrs. Jones" in 1972.

Our tour guide told us that Gamble and Huff would eat at this little diner 

across the street from the studio 

and would see this couple meeting there every day 

to share a cup of coffee and snack.

They started to make up a little story about the couple 

and what they were doing there ...

"They'd meet every day ... at the same cafe" ...

And before you knew it, another #1 Gamble and Huff Hit was born!

We were told that, once inspired, they came back to the studio and finished the song

with Kenny Gamble sitting in this very same chair that I'M sitting in in this picture.

(Now how cool is that?!?!?)

Hard to imagine that ALL of this is gone now.

ICONIC ‘PHILADELPHIA INTERNATIONAL RECORDS’ NEON SIGN TO BE LOWERED AS LEGENDARY RECORD LABEL CLOSES AND HISTORIC BUILDING, RAVAGED BY ARSON FIRE, PREPARES FOR WRECKING BALL

Former Home of Gamble & Huff’s Legendary ‘Sound of Philadelphia’ and Cameo-Parkway Records to Make Way for Hi-Rise Hotel and Luxury Condominium   

The iconic PHILADELPHIA INTERNATIONAL RECORDS blue neon sign that adorns the historic "Sound Of Philadelphia" building at 309 S. Broad Street will be permanently removed Wednesday, October 15, in final preparations for the building’s demolition. The sign symbolizes the end of a legendary record label, and an era whose music continues to resonate deeply with “people all over the world.”  The sign’s removal is in conjunction with the closing of Philadelphia International Records and the sale of the building - owned since 1970 by pioneering songwriting partners Kenny Gamble, Leon Huff and Thom Bell – this week to Dranoff Properties. The building, ravaged by a 2010 arson fire from which it never recovered, is scheduled to be demolished in 2015, when ground will be broken at that site on the 47-story SLS International hotel and luxury condominium.   The PHILADELPHIA INTERNATIONAL RECORDS sign will be immediately removed from the site and placed into safe storage with other artifacts and memorabilia from the famous recording studios and offices for future museum consideration, according to Chuck Gamble, executive vice president of Philadelphia International Records and Gamble-Huff Music.

In recent years leading up to the arson fire, the Philadelphia International Records offices in the monumental brick building had become a major tourist attraction where Michael Jackson, Teddy Pendergrass, Patti LaBelle, the O’Jays, Lou Rawls, Chubby Checker and dozens more created worldwide smash hits. From school children to celebrity VIPs, Philadelphia International Records continually hosted visitors eager to see the historic rooms and hallways where the legendary “Sound of Philadelphia” music was created. The offices and recording studios also have been the site of several film documentaries and television specials and media visits, as well as special receptions, including a recent event honoring Motown founder and friend Berry Gordy. Gamble & Huff also originated their recent radio series on Sirius XM from the third floor recording studios.

As the corporate office for Gamble & Huff, the building served primarily as the source of the vast music catalog’s worldwide licensing. Their music has been featured prominently in television programs ("The Apprentice"), films ("The Nutty Professor") and advertising spots (Coors, Verizon, Old Navy, The Gap) for more than 35 years, entering the musical DNA of contemporary culture. Prior to the Philadelphia International Records era, this also was the building where Chubby Checker recorded “The Twist” and Dee Dee Sharp recorded “The Mashed Potato” as the home of the legendary Cameo-Parkway record label. Gamble & Huff wrote over 3,000 songs within 35 years, including R&B #1 hits, pop #1 hits, gold and platinum records, Grammy winners and BMI songwriters' awards honorees. With a stable core of artists led by the O'Jays, Harold Melvin and the Blue Notes, Billy Paul, MFSB and the Three Degrees, Gamble and Huff co-founded Philadelphia International Records and created monster hits almost from the first day of its inception. Songs they have written and produced together, like "Back Stabbers," "Love Train," "For The Love Of Money," "If You Don't Know Me By Now," "Cowboys to Girls," "Don't Leave Me This Way," "Enjoy Yourself," "I'm Gonna Make You Love Me," "Only the Strong Survive" and "TSOP," have received songwriters' awards from Broadcast Music International (BMI). All told, the Gamble & Huff / Philadelphia International Records music machine has generated over 50 Gold and Platinum records and over 50 Top 10 hits.     

PHILADELPHIA INTERNATIONAL RECORDS SAYS GOODBYE

AS ‘SOUND OF PHILADELPHIA’ BUILDING FOREVER 

SILENCED   

The “Love Train” that has carried “The Sound of

PHILADELPHIA (TSOP)” to “people all over the world” for

almost half-century made its last stop at 309 S. BROAD

STREET this week as the legendary PHILADELPHIA

INTERNATIONAL RECORDS label, founded by ROCK AND ROLL

HALL OF FAME producer-songwriters KENNETH GAMBLE and

LEON HUFF, was officially shut down with the sale of its

historic building to a prominent local developer.    

"The closing of the company and building is definitely 

bittersweet, but we are extremely proud and honored to

have been able to create so much great music out of our

‘309’ location,” said GAMBLE & HUFF in a joint statement.

“It was such a blessing and miracle how all of this came

together over 50 years. More importantly, we would like to

thank all of the wonderful musicians, artists and staff

members who helped make PHILADELPHIA INTERNATIONAL

RECORDS what it became -– and what it remains –- an incredible AFRICAN-AMERICAN institution and music and cultural brand."     

Gamble & Huff's Philadelphia International Records became the birthplace, incubator and launching pad for the Philly Soul sound aka “The Sound of Philadelphia (TSOP),” a unique blend of R&B rhythms, sweet soul vocals, deep funk grooves, pulsing horn charts and lush string arrangements with melodic structures combining elements of pop, jazz and world music.With a stable core of artists led by the O'Jays, Harold Melvin and the Blue Notes, Billy Paul, MFSB and the Three Degrees, Gamble & Huff co-founded Philadelphia International Records and began creating monster hits from nearly the first day of its inception in 1971. They continued to record, collaborate and produce major hits with a galaxy of stars from the pop, rock, soul and jazz universes, including Michael Jackson and the Jacksons, Elton John, Lou Rawls, Teddy Pendergrass, Patti LaBelle, the Spinners, the Stylistics, the Delfonics, Dusty Springfield, Jerry Butler, Wilson Pickett, LaBelle, Archie Bell & the Drells, the Soul Survivors, Laura Nyro, the Trammps, McFadden & Whitehead, Phyllis Hyman, the Dells and many more.  

"We were honored to record our many hits with Philadelphia International Records under the tutelage of Gamble & Huff, who were not only great producers but excellent songwriters for us and the many others on the roster,” said Walter Williams of the O’Jays. “More importantly, we respected these two great men and the PIR record label for nurturing and helping other artists, producers and writers to also become hit makers. The O'Jays definitely benefited, even down to this day, from being a part of the Philadelphia International Records family.”  

The label produced some of the world’s greatest hit songs such as “ Love Train,” “If You Don’t Know Me by Now,” "For The Love Of Money," "Don't Leave Me This Way," “Me and Mrs. Jones,” "Enjoy Yourself," "I'm Gonna Make You Love Me," "Only the Strong Survive," “You'll Never Find A Love Like Mine,” “Ain’t No Stoppin Us Now,” "TSOP" (better known as the "Soul Train" theme) and many other Top 10 Billboard hits over the past 50 years. The PIR Catalog has some of the most sampled R&B catalogue in the world, appearing on recordings by artists such as Jay-Z, Kanye West, Mary J Blige, Destiny’s Child, Usher, T.I., Chrisette Michele, Cam'ron, Ja Rule, Jaheim, Avant and many more.

The iconic “Philadelphia International Records” blue neon sign that adorned the historic “Sound of Philadelphia” building at 309 S. Broad Street was permanently removed this week in final preparations for the famous structure’s demolition. The lowering of the sign symbolized the end of a legendary record label and an era whose music will continue to resonate deeply with “people all over the world” for generations to come.    

“It’s a sad day for me,” said Charlie Ingui of the Soul Survivors, who recorded “Expressway to Your Heart” in the “309” building. “We had some great times in that building. The energy every day was unbelievable. It was a place that I just used to love to hang out, running in to guys from the Intruders, the Blue Notes, Tommy Bell, and so on. It’s just not going to be the same walking up and down Broad Street. I can close my eyes and really remember every day I was there, seeing the writers go in and out of that back section there, and just the parade of hits, man, it was really great.”   

As the corporate office for Gamble, Huff and their production and songwriting partner, Thom Bell, the monumental brick “Sound of Philadelphia” building served primarily as the source of the vast music catalog’s worldwide licensing. Their music has been featured prominently in television programs ("The Apprentice"), films (“American Hustle,” “Ice Age II,” "The Nutty Professor") and advertising spots (Samsung, Coors, Verizon, Old Navy, The Gap) for more than 40 years, entering the musical DNA of contemporary culture.

Prior to the PIR era, this building also was the place where Chubby Checker recorded “The Twist,” and Dee Dee Sharp recorded “The Mashed Potato,” as the home of the legendary Cameo-Parkway record label. Other famous Cameo-Parkway artists who created hits at the “309” studio included Bobby Rydell, the Orlons and the Dovells.

"I am honored to say that the 309 Building where Cameo-Parkway Records existed is the house that Chubby built and Gamble, Huff and Bell immortalized,” said Chubby Checker. “What came out of that building from Cameo-Parkway through to Philadelphia International Records was a result to the greatness of Philadelphia's music."

Sigma Sound founder and engineer Joe Tarsia built the original recording studio in 1963 for Cameo-Parkway Records. That studio became Sigma Sound South, most famously known as the in-house studio at Philadelphia International Records for recording many of the label’s artists. Other legends who recorded in the "309" Building included Sly Stone and Stevie Wonder.

“It’s the end of an era,” added Tarsia. “But the music lives on.”

In recent years leading up to the arson fire, the Philadelphia International Records offices had become a major tourist attraction where Michael Jackson, Teddy Pendergrass, Patti LaBelle, the O’Jays, Lou Rawls, Chubby Checker, Billy Paul, the Soul Survivors, and dozens more created worldwide smash hits. From school children to celebrity VIPs, Philadelphia International Records continually hosted visitors eager to see the historic rooms and hallways where the legendary “Sound of Philadelphia” music was created. The offices and recording studios also have been the site of several film documentaries and television specials and media visits, as well as special receptions, including a recent event honoring Motown founder and friend Berry Gordy. Gamble & Huff also originated their recent radio series on Sirius XM from the third floor recording studios.

The building – owned since 1973 by pioneering songwriting partners Gamble, Huff and Bell – was formally sold this week to Dranoff Properties. The building, ravaged by a 2010 arson fire from which it never recovered, is scheduled to be demolished in 2015, when ground will be broken at that site on the 47-story SLS International hotel and luxury condominium. The span of South Broad Street in front the building was previously renamed Gamble Huff Walk.

Workers on cherry pickers and ladders carefully removed the “Philadelphia International Records” sign and disassembled it into six pieces, then strapped it piece by piece onto the back of a flatbed truck. The sign was then transported to safe storage with other artifacts and memorabilia from the famous recording studios and offices being preserved for future museum consideration. Chuck Gamble, executive vice president of Philadelphia International Records and Gamble-Huff Music, has overseen the closing of the company and the building, and was on site for the sign’s removal before a the group of onlookers and TV, radio and print media gathered to witness this symbolic passage in the history of popular music.

Legendary producers and songwriters Kenneth Gamble, Leon Huff, and Thom Bell are among the most prolific professional songwriters of all time, having written and produced over 3,500 songs within 50 years, an output rivaling such famed songwriting teams as Lennon-McCartney, Jagger-Richards and Holland-Dozier-Holland. They are enshrined in American “fabric of music” with a massive catalogue that includes numerous pop #1 hits, R&B #1 hits, including dozens of gold and platinum records that have resulted in Grammy and BMI Songwriter Awards.

As one of the most requested Sync Licensing Catalogues, the PIR/Gamble Huff recordings and songs have been featured prominently in television programs ("The Apprentice," "Cold Case"), films ("American Hustle," "The Nutty Professor") and advertising spots (Verizon, Chevrolet, Coors Light, Old Navy, The Gap, Office Max) for more than 30 years, the songs of Gamble, Huff and Bell have entered the musical DNA of contemporary culture. In fact, one of their songs is played on the radio somewhere in the world every 13.5 minutes.

Gamble & Huff have been prestigiously inducted and honored by several Music Halls of Fame including the Grammy-National Academy of Recording Arts and Sciences Trustees, Songwriters Hall of Fame, Producers Hall of Fame, Dance Music Hall of Fame, and R&B Hall of Fame. In 2008, Gamble & Huff were inducted into the Rock and Roll Hall of Fame as the first recipients of the newly created Ahmet Ertegun Award. These music icons are recognized around the world for their contribution to the entire fabric of popular music, joining luminaries like Berry Gordy, Quincy Jones, George Gershwin & Ira Gershwin, The Beatles, and Frank Sinatra.

Their songs also have been covered by a myriad of artists including Elvis Presley, the Rolling Stones, Bette Midler, Michael Bublé, Martina McBride, Seal, Simply Red, Johnny Mathis, Lesley Gore, Donny & Marie, Thelma Houston, the Brand New Heavies and more recently, Rod Stewart, who sang four Gamble & Huff classics on his 2009 album, Soulbook.

Gamble & Huff created and are credited for launching one of the most celebrated and historic songwriting partnerships that spawned into a sophisticated sound lovingly crafted in the studio by some of the 20th century's most influential producers and studio teams -- including Kenneth Gamble and Leon Huff, Thom Bell, Linda Creed, Gene McFadden and John Whitehead, Bunny Sigler, Dexter Wansel, Bobby Martin, MFSB Orchestra, Baker, Harris and Young, Joe Tarsia (Sigma Sound) and others – Philly Soul set the stage for disco, smooth jazz, adult contemporary music and more.

 

Gamble & Huff will begin celebrating their 50^th Anniversary in 2015 with the projected release of their Autobiographical Book and the launch of their Theatrical Play on their historic Life Story and creation of one of America’s great music catalogues, known as “The Sound of Philadelphia.”  

FOR MORE INFORMATION, PLEASE VISIT:

www.gamble-huffmusic.com

www.tsopsoulradio.com  

Watch the video here:

http://youtu.be/x62xeCVGAvw?list=UUmOV4rCGcCQHP4ZDoaxlHCA

Boy, if ever there was a theme song for a musical movement, this has got to be it ... "T.S.O.P." (The Sound Of Philadelphia) by M.F.S.B.  (Mother Father Sister Brother), a #1 Hit From 1974.

Get Well Wishes To Freddy Cannon

We gave Freddy "Boom Boom" Cannon the spotlight treatment with a three day mini-series last week here in Forgotten Hits.  (Scroll back to October 8th, 9th and 10th if you missed any part of it)  

Freddy's been through a couple of extreme emotional highs and lows of late ...  

A couple of months ago we were able to reunite Freddy with the original demo record he cut back in 1958 called "She's My Rock And Roll Baby", a song that turned into Freddy's first big hit "Tallahassee Lassie", thanks to an acetate that found its way into dee jay (and avid record collector) Eric Lee's hands.  I can only tell you that Freddy was nothing short of ecstatic to have a copy of this mega-rare pressing in his hands again.  

But then, a few weeks later, Freddy found himself in the hospital having quadruple by-pass heart surgery.  (Talk about your emotional rollercoasters!!!) 

In any event, Freddy's back home now, resting comfortably and, as The Bee Gees might say, mending his (literally) broken heart! 

We asked our Forgotten Hits Readers if they'd like to send along some "Get Well Wishes" to Freddy ... and here is how they responded ...  

*****GET WELL, FREDDY!!!***** 

Hi Freddy!  
Hope you're doing much better ... I know you're still "on the mend" ... so take it easy ... and do what you're supposed to ... and you'll be back up there performing in no time!!!  (I have a close friend who just went through this exact same procedure ... three and a half months later he was back up on his feet and working two jobs, one of which is laying concrete!!!)  
So hang in there, buddy!  SO glad to hear the acetate made it back into your hands.  Hope you saw our little three-day series we ran recounting all of the events.  
Your Friend Forever In Music, 
kk 
Kent Kotal 
Forgotten Hits  

The article looks great, and my local dance club is hopefully going to link to the story!  
I am so sorry to hear about Freddy's obvious emergency, but I'm glad he's had the surgery!  Hopefully, he'll make a speedy recovery and get back to rockin' and rollin'!    Regards,  
Eric Lee     

I am still crazy about Freddy Cannon's music after all these years.  He wasn't JUST a teen idol, he was a first class talent and star of the first magnitude.  My very favorites were the old standards he sped up and updated, such as 'Chattanooga Shoe Shine Boy,' California, Here I Come,' and 'Muskrat Ramble.'  Any time I see that grin, it makes me smile, too.   Tell him this fan is pulling for him.   
Pttibg  

Get well "boom boom" we need you here and not in rock and roll heaven!    
Mike De Martino     

Kent -  
Great story about the lost demo of Freddy Cannon!  I had the pleasure of working with him in the 1970's when he was on Frank Slay's Claridge Records (best know for "Don't Call Us We'll Call You" by Sugarloaf) and was promoting his own record to radio and with the distributors (we were the Claridge distributor for Cleveland).  Freddy is in my top three list of all time best guys to work with, along with Tommy James and Felix Cavaliere.  Freddy also recorded a single for Amherst Records of Buffalo in the 1980's and our company (Action Music) was both the distributor of the label and were owned by the same person who owned Amherst.  Freddy's Swan records ALWAYS got played at WKBW in Buffalo, as KB was the ultimate test market for Bernie Binnick and Swan on many records (Wild Weekend by the Rockin' Rebels is a good example).  Freddye's birthday is coming up in December, and I always remember to send him a birthday email.  I wish him a speedy recovery!!! 
CLAY PASTERNACK    

My thoughts and prayers are with Freddy and I'm anxious to see him up and about soon.  Please pass this along!   
Jim Southern    

Hi Kent - 
GREAT STORY on the FIRST 45 from Freddy!  I have all the singles that guy did and many of the non-hit singles should have been hits.  That is I thought I had all the singles till reading your story – would love to hear that first version.  Keep up the killer groovy web site man – hell, you keep us all rocking man !! 
Your buddy - 
Jeff James    

Glad you mentioned "Transistor Sister' by Freddy Cannon. I was just telling my niece how I was 'hot stuff' walking around with my transistor radio listening to all the hits!! I told her that was the I-Pod of the day!  
Long live Rock and Roll and All the Memories. 
Carolyn    

Very sad to hear about Freddy’s surgery but equally very happy to hear it was found in time and that it has been successful.  
For the magazine you might like to ask Freddy to tell you the story of the picture of him with Jeanette and a rather grumpy looking Elvis. He told me the story last year and I had to laugh ... after all, that was Elvis we are talking about! 
I have written to Jeanette wishing him well but please pass on my best wishes when you next write to him.  
Take care, 
Rockin’ Lord Geoff (in England)  

Hey Freddy, 
Although we’ve never met, I’ve always enjoyed your contribution to music.  A good friend of mine, Bruce Belland of the Four Preps, had the same operation as you a few years ago and now he’s as awnry as ever.  My best to you and glad to hear your on the road to full recovery. 
Late of the Lettermen and now the Reunion, 
Gary Pike    

Kent,  
I am so happy that Freddy Cannon's surgery went well!  Like Paul Revere, Freddy is one of the most energetic entertainers both on record and live that I know of.  I have often commented that Freddy put as much energy or more into his music than even the DC5.  We likely had more of his records in our house when we were just 6 or 7 than any other artist!  That's saying a lot for the four Besch Brothers!  
Seeing him do a stoll-like dance line during his "Dedication Song" Bandstand performance was probably the first time I had seen this dance at all.  That song and "Action" are on my MP3 player constantly as well as "Jump Over" "Muskrat Ramble" and the bigger hits.  His use of honky tonk piano and New Orleans harmonica and sax fills made it an early RNB experience for us brothers as well.    
He's always been upbeat and I cannot think but that the Raiders and many others owe him a debt of gratitude for the use of "whooo" in their songs!  He always had current topics in his records and appealed to the teen and pre-teen years usually.  He often schmoozed of Boston and dances of the day and schools and cities in his lyrics, which made it fun for all of us as well.  He did standards unlike any way you would ever imagine hearing them and would turn around and have songs with titles including hippies, radio, autographs, the moon, summertime and made it all fun. 

Here's a photo of Freddy talking with WLS fave Art Roberts on Art's Kumzitz show.  If memory serves me, his interview with Lloyd Thaxton from the latter's show is still on video "in the can" waiting to "jump out of it." 
Keep rockin', Freddy ... and "if I were a rock 'n roll record", I'd want it to sound like one of Freddy's!  Get well soon.  
Clark Besch

Hi Kent, 
I love Freddy Cannon ... and what a great story! 
Hola Freddy!!! 
Get well fast! You've always been 'Wicked Pissa' in the hearts of Boston Fans listening to you over 1510 WMEX!

'Did you Fenway it this morning?' ha ha Perhaps one too many cheeseburgers at Adventure Car Hop clogged your arteries ha ha!!!   
Your music is full of the carefree innocence of our youth and vibrates still in our hearts! 
I can still hear the sounds of that XKE that Abigail Beecher drove!!!!   
Thanks a million! 
GET WELL FAST! 
CharlieOFD

It's really amazing what they can do in surgery these days ... even open-heart / by-pass surgery has become normal, run-of-the-mill procedures ... we truly have come a long, long way in our lifetimes.
The key to a lot of it is catching it in time ... and then acting on it in a proactive way.
Here's one of my all-time favorite Woody Allen bits from 50+ years ago when he was still a stand-up comic appearing in places like Mr. Kelly's here in Chicago.
Hope this makes you smile, Freddy!  (kk)

Well she comes from Tallahassee ... whoo ... she's got a hi-fi chassy ...  
Freddy, best of luck with your recovery. You are truly a symbol of the golden era of rock 'n roll. Your energy always seemed boundless.  
The legion of fan you have developed over the years is countless.  
Man, you made me yearn to go to Palisades Park!  
I know I speak for the entire Forgotten Hits Family when I tell you that you are a hero to so many of us ... a man who dared to make us live, love and sing a long.  
Chet Coppock  
'Author: Chet Coppock: Laying it on the Line  
Host: Notre Dame Football on WLS      

Although I had, of course, collected and broadcast his powerhouse records for years, I did not actually meet Freddy Cannon for the first time until Frank Slay introduced us in 1976.  Freddy cheerfully sat down for an interview in the offices of Slay's Claridge Records and could not have been more open, honest, enthusiastic and delightful.  Later, when I began programming KRLA in Los Angeles, one of the first people to stop by for lunch was Freddy -- who at that time was doubling as an independent record promotion man (in between concert dates).  I remember telling him how much I enjoyed not only his big hits but also a lot of the smaller ones (like "If You Were A Rock 'n' Roll Record"), B sides (such as "Beechwood City") and album tracks (his "Action" LP being a particular favorite).  Years later I licensed a lot of his stuff for various CD box sets and could not have released my 4-disc collection "Dedicated To The One I Love" (a set made up entirely of one-heart-to-another musical messages) without "The Dedication Song" as the perfect closing track.  Freddy remains one of my all-time favorite rock stars, not only professionally but personally as he truly is an instantly likeable really nice guy.  Glad to hear you sailed through the surgery, Freddy.  Now bounce back to again put the fun back in rock 'n' roll!  
Crank this up:   



Gary Theroux  
"The History of Rock 'n' Roll"   

Kent -

Please pass along my get well wishes to Freddy Cannon.

Freddy:  
Hi, Freddy,  
My name is Stephanie Campbell and I listen to and read Forgotten Hits.    
Just wanted to wish you a speedy recovery!    
Stephanie   

Hi Mr. Cannon,  
I've been a fan of yours since I was about three or four years old and heard Palisades Park on American Bandstand.  I watched it every day so saw you more than a few times. Moving ahead to the 1970's I was in the audience on a couple of dates you were on with Bobby Vee, and Del Shannon. I was in a Minnesota based band called Johnny Holm and the Traveling Fun show and we were booked by a guy who did some booking for you and Bobby. His name was Dave Hoffman.   
Those times I saw you, you totally rocked the place. I talked to Bobby over the years, and he always had great things to say about you.  
In my world you were always one of the real rock 'n Rollers. Hope to get a chance to see you out on the road some day. Come to Minnesota, please.  
Bill Scherer  
I say we send Freddy up to Minnesota ... right after he plays his show here in Chicago ... 'cause I wanna see him, too!  (kk)  

Hi Kent!   
I thought you might find this interesting if you haven't already seen it.  
Thanks for all your hard work!  
Woody http://iamkennypaulsonsonlylivingson.blogspot.com/

Thanks, Woody!  
I tried to find an email address for Kenny Paulson's son but couldn't find anything listed ... thought he might enjoy our article, especially since his father's work was so highly regarded on this record.  
If anybody out there knows how to get in touch with Stephen Paulson, please let me know ... or send him the links to our Freddy Cannon series!  (kk)  

Hi Freddy,

I have not ever met you, and may never, but I have seen you several times in Bowzer's line-up.  Keep getting better.  My students love listening to 'Palisades Park' and 'Where the Action Is'.  Did we ever think we would be a part of such timeless music?  
Teacher with a Musical Passion,  
Shelley J Sweet-Tufano   

When I read the news about Freddy's by-pass surgery, I was transported back to '59, when I first saw him on "American Bandstand," heard his classic "Tallahassee Lassie" on the local Top-40 station, and became an 'instant fan.'   
Although we grew up on opposites sides of the USA, Freddy in MA, me in CA, I was blown away by his music, the excitement he brought to the stage, and his likeable personality. And, after all, we shared the name, "Frederick," although neither of us would use it throughout our lives. He was "Freddy" and I was "Fred."     
It was a great time for music, it was a great time to be growing up in America -- at that time, the most feared -- and respected -- nation in the world. I was working as a 'gopher' on KXOA Radio, getting 'paid' in 45's and an occasional album. Freddy's frequent appearances on "Bandstand" made him one of the most recognizable artists in the country. And, as a "Dick Clark" wannabee, I rushed home every weekday afternoon to tune in to the show--and again on Saturday night's "Dick Clark Show."    
Although "Palisades Park" and "Way Down Yonder" were huge Top 10 national hits, not all records by a number of 'name' artists were hits across the country. Sacramento seemed to go out on a limb more often than some of the larger markets and play records 'out of the box.' Such a record was "Buzz Buzz A-Diddly," a pretty good sized hit in Sacramento. Another record that did not reach major chart success was Ray Peterson's Dunes recording of "I Forgot What It Was Like."  By then I'd become a deejay on several Sacramento radio stations, and was supplementing my meager $2 an hour radio wage by booking emerging recording artists into high school assemblies, all-night grad parties and teen clubs, among them Johnny Crawford, Jan & Dean, Smokey Robinson and the Miracles, The Diamonds, Bobby Freeman and Jerry Wallace. I could make $50 on a weekend, a lot of money for a 19 year old in '63.    
That all changed on May 24, 1963 when I promoted my first Beach Boys concert at the Sacramento Memorial Auditorium. I made a whopping $600 (each Beach Boy made about $55 after William Morris commission, plane tickets, hotel and meals). I'd found my 'calling.'     
KXOA Radio approached me a few months later and asked me to put together an 'appreciation show,' leaving the decision as to who to book pretty much up to me. My choices included Johnny Burnette, The Rigtheous Brothers, The Rivingtons, Ray Peterson and Freddy Cannon. I was on 'cloud 9,' booking some of America's hottest talent--singers who just two or three years before--I had been listening to, or playing, on the radio. I was actually getting paid for something I would have gladly done for 'free.' Freddy and Ray went over great, as both were not only great singers but great 'live' entertainers as well. They were also 'nice guys.'     
Freddy -- I am indeed honored to call you a 'friend' and I wish you a speedy and thorough recovery. You are a big part of the 'soundtrack of our lives' and you have thousands of friends and grateful fans praying and rooting for you. Fred Vail  
Treasure Isle Recorders, Inc.  
"Music City, USA"     

Hey Kent --  
Quite a feat in getting those acetates returned to the "Big Blast From Boston". I am constantly amazed at your energy and skill set in preserving  music which has pretty much disappeared from America's mindset.  
Thanks for another job well done.  
Clive   

FREDDY IS ONE OF THE MOST AUTHENTIC ROCKERS AROUND TODAY, AND CERTAINLY ONE OF THE KINDEST HUMAN BEINGS YOU WILL EVER MEET. I KNOW HE WILL COME THRU THIS BUMP IN THE ROAD WITH FLYING COLORS AND CONTINUE ON  WITH HIS INCREDIBLE CAREER!  
SCOTT SHANNON  
DEE-JAY     

Kent -  
I was completely surprised by your Freddy Cannon story last week!  I wasn't aware that you were working on this reunion for him with his original Boston demo. The way you wrote and sequenced the telling of the story of how this all happened was incredibly well done.  You write better than many Hollywood writers.    
I spoke to Freddy last night for the first time since he was released from the hospital.  He is still very weak, but that is expected after the surgery he went through.  He was so overjoyed about you helping him track down the demo, he couldn't say thank you enough.  Right now he doesn't have the strength to return e-mails, but he wanted me to assure you that he'll be in touch with you once he is. He wants you to know how meaningful this was for him.  His wife, Jeanette, read him portions of the three chapters that you wrote in FH.     
You should be very proud of the lives you have touched in such a positive way through your blog which celebrates our passion for music.    
I hope a label reaches out to Freddy in the near future about another compilation of his songs, because, as you suggested, this demo would make a terrific and valuable addition to it.    
I'm thrilled to hear you were able to prepare a Sunday comments posting for this weekend, because when it doesn't appear, it's like not having 60 MINUTES to look forward to on Sunday nights!    
-- Tom Cuddy   
Thanks, Tom, that means a lot!  I am SO happy that we were able to get this acetate back into Freddy's hands ... I know how much it meant to him ... and if even just the slightest amount of joy from this helps him through his recovery and inspires him to get back up on stage again to perform, I couldn't be happier than to have done my share to help make that happen.  He's one of the true originals ... and he needs to know how much the fans still love him.  (kk)    

I missed "Palisades Park" the first time around ... I was just a kid when that came out and wasn't even really listening to the radio yet.  (I was eight years old for the majority of 1962 ... my world back then consisted of baseball cards and comic books! ... so when I finally DID hear "Palisades Park" many years later on an oldies station, a wave of memories came rushing back.  Is there ANY kid out there who grew up reading "Superman" that doesn't remember THIS ad?!?!?)  kk